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Spider-Man 3: Release Date, Cast, Plot And Upcoming Third Solo Film

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Marvel shouldn’t Perpetrate their villain Error in Avengers: Age of Ultron at Spider-Man 3. Tom Holland is set to reprise the web-slinging hero for the sixth time in the MCU in his upcoming third solo film. Plot details remain scarce at the moment, but fans have their theories about who the project’s big bad will be. Possibly the most compelling choice among Spider-Man’s rogues’ gallery is Kraven the Hunter considering where Spider-Man: Far From Home abandoned the personality, although a new adversary is expected to be debuted, it is worth noting that there are already other adversaries previously introduced in the franchise that are only waiting for their time under the spotlight.

One of them is Mac Gargan/Scorpion (Michael Mando) who left his MCU debut in Jon Watts’ Spider-Man: Homecoming in 2017. Gargan was not the film’s first villain but Adrian Toomes/Vulture (Michael Keaton), but his curiosity about purchasing some alien technology and other Avengers battle scene bits out of the black market theorized that he’s up to no good. Peter hijacking the transaction landed Gargan in prison in the film’s post-credits scene where he faced the Vulture regarding the actual individuality of Spider-Man insinuating that he’s intentions to seek revenge from the youthful hero.

Gargan has not factored in any MCU film since then, sitting out Spider-Man: Far From Home, which makes sense since it’s mostly set in Europe as Peter battled the Elementals and then Quentin Beck/Mysterio (Jake Gyllenhaal). As the web-slinging hero’s story comes back to the USA in the still-untitled Spider-Man 3 film, there’s a chance to bring him back at the forefront of this story. However, when Marvel Studios decides to try it, they need not make a replica of their big Age of Ultron blunder regarding Wolfgang von Strucker (Thomas Kretschman).

Introduced in Captain America: The Winter Soldier mid-credits scene, von Strucker had been operating off-screen as a HYDRA operative. It had been his mobile that uttered the Scepter/Mind Stone on the insides of this Battle of New York in The Avengers and experimented it with the intent of producing super-powered humans that would serve HYDRA – this included Wanda (Elizabeth Olsen) and Pietro Maximoff (Aaron Taylor-Johnson). They finally became Scarlet Witch and Quicksilver. On the heels of HYDRA’s autumn, he became one of the very few surviving members of the group, and it seemed like he had been set up as a major place -Winter Soldier player.

Given his extensive involvement from the secret operation, not to mention that the creation of the strong Maximoff twins, one would assume that there would be more to his story moving forward. In the end, he was able to work undetected for a substantial quantity of time, evading the Avengers. But then, regrettably, any potential that von Strucker needed to become a worthy villain in MCU vanished when he was killed at the beginning of Age of Ultron. It’s unsure why Marvel Studios had to build such an elaborate back story for von Strucker if he was not going to be a major part of the franchise moving forward and it was a shame to see a comic book character disrespected in adaptation. Regardless of their reasoning, it is a wasted opportunity and something that shouldn’t be repeated in Spider-Man 3.

If something, Marvel Studios has more choices to manoeuvre Scorpion’s story in comparison to von Strucker considering that the latter was released on the heels of HYDRA’s fall causing a dead-end in Avengers: Age of Ultron. Gargan, on the other hand, can factor in what could be a witch hunt for Spider-Man now that his identity as Peter Parker has already been shown to the general public. The question now is whether they can find a way to incorporate him to Spider-Man 3 story if they’re already considering introducing other more prominent villains from the movie. Copying Age Of Ultron and dispensing with a loose end in the opening act would be a disservice to the character and the actor behind him.

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Gabourey Sidibe Says “A Few Factors” Boosted Anna Kendrick’s Career Over Hers After Both Were Oscar Noms

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Gabourey Sidibe and Anna Kendrick were both first time Oscar nominees at the Academy Awards in 2010. Sidibe was in the running for Best Actress thanks to her acclaimed breakout role in Lee Daniels’ Precious: Based on the Novel ‘Push’ by Sapphire, while Kendrick was in contention for Best Supporting Actress along with co-star Vera Farmiga for Jason Reitman’s Up in the Air. Both of these movies were up for Best Picture and Best Director, losing to The Hurt Locker and Kathryn Bigelow. Neither Sidibe nor Kendrick won Oscars, but Sidibe says Hollywood embraced one of them more than the other.

In a new interview with Collider to mark the opening of her horror movie Antebellum, Sidibe opened up about her life and career in the 10 years following her Oscar nomination. While Sidibe is grateful to be a working actress a decade after Precious, she’s aware Hollywood didn’t open its doors to her in the same way it did for an actress like Kendrick even though they’re nearly the same age and arrived on the scene at the exact time with breakthrough Oscar nominations.

“I’ve heard the idea that I’m just lucky before,” Sidibe said. “I’ve heard that. I’m an extremely unlucky person, actually. I work really, really hard though. And no, the Hollywood seas didn’t part for me in the same way that it might have for maybe Anna Kendrick who was nominated for the first time that year as well, who then went on to star in films and television and the whole thing. The seas did not part that same way for me and I assume that there are a few factors that made that so, but I am still working 10 years later.”

Sidibe continued, “I’m still working 12 years after having filmed [‘Precious’]. I have agency. I am comfortable with who I am. I know my voice. I know what I want to say to the world. I know what I want to give to the world and what I want to give to myself. I know my artistry. And so, you know, starring in things or being on the covers of magazines, all of these things that say that I’ve ‘made it,’ everything that solidifies my position on the A-list, whatever that means, doesn’t actually mean anything to my self-worth and my sense of artistry.”

Sidibe followed Precious with a supporting role in the Universal Pictures comedy Tower Heist, co-starring Ben Stiller and Eddie Murphy, but her film career has otherwise been made up of indie projects. Sidibe found greater success on television with supporting roles in Empire, The Big C, and Ryan Murphy’s American Horror Story series. Kendrick’s post-Oscar career includes headlining Universal’s Pitch Perfect franchise, plus studio projects like Into the Woods, The Accountant, Mike and Dave Need Wedding Dates, and the animated Trolls series, among others.

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Yes, DC Is Already Selling Merchandise With Michael Keaton’s Batman, Because Why Not?

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Still, with other heroes from elsewhere in the DC multiverse expected to show up alongside these Batmen, it’s looking like The Flash will be quite the cinematic event. Furthermore, this may not be Michael Keaton’s swan song as Batman, as it was reported that he could end up serving in a “mentor capacity” in other projects, such as Batgirl. However, that tidbit of news came out before Ben Affleck’s Batman return was announced, so if plans are made to feature more of Batfleck in the DCEU, it’s unclear if that will interfere with what was being hashed out for Keaton.

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Responsibility In Art Through Black Mask Studios’ ‘Beatiful Canvas’

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Beautiful Canvas (Ryan K Lindsay, Sami Kivela, Triona Farrel, Ryan Ferrier) released on 2017 through Black Mask Studios, as part of the extensive efforts of this editorial to combine comics that place intriguing stories and deep social commentary. The main character is Lon, a hitwoman whose girlfriend Asia is pregnant of their baby (accidental possible trans representation or just artificial insemination, who knows!), and the conflict posses Lon with the mission of killing a child (Alex), which she refuses to go along with. Through the analogy of her future daughter as a creation, and opposed to the vision of destruction that chases her from past killings, we’re presented with two main concepts through all the book: responsibility (usually through the characters as parents or as creators) and acceptance (through the vision these characters pose over their relative others, themselves and the world, and what that reflects back into the world).

But I want to put my vision in another character of the book, far more interesting for my purpose: Milla, the villain. She’s literally a billionaire killing people and experimenting on people for the shake of “chaos as art”, with an associated director guy who records the murders she orders. There’s some anti-capitalist subtones in the message this comic gives about its main antagonist, like the “I’m a billionaire, I own you” reasoning or going as far as recording torture and murder to make “movies”, as well as showing the greater social conflict that Milla causes and that some of its victims are trying to navigate. But, to further up why I’m talking about this comic in 2020, and why it is extremely relevant in today’s discussions around art and author, I’m gonna focus on the display of violence and the real violence related to it, and what it says about responsibility around art and artists.

Starting with the content of it, art (especially cinema and the likes of Lynch or Korine, but of course also comics) has given some thought without a clear answer around if representing pain, horror and trauma by a violent light does good, with various degrees of answers from the dangers of romantifying said pain to the potentiality of being an empowerment tool for people who need to communicate their own pain. Beautiful Canvas places itself in various degrees of that conversation; it is, indeed, a gritty and violent comic, but it’s far from showing any pain for the shake of, always coming for it in light of criticism and learning, growing from violence and the struggle to not to cause pain. There’s weight to every blood drop and every harsh scene the detailed art navigates, and a core message of parenting difficulties, as well as acceptance of others as a way to create loving relationships in the world. Lon is both creator and destructor, and her responsibility with the awful things she has done mirrors the lack of responsibility of the villain, who just wants to make a show. And that starts my second point around Beautiful Canvas: that we can pinpoint horrible unknowable pain to a creator that fully intends it that way, Milla.

From 2006’s Tarana Burke #MeToo pioneer activism, to 2017’s rise of its popularity till 2020’s recent comics industry sexual abuse allegations, we are going through a shift in how we consume art and in which environments that art is generated. Of course, this has always happened (going as back as Polanski or Hitchcock’s cases of sexual assault), but 2020 has seen a rise in the recognition of violence and the demanding of responsibility like never before. We also are learning that these environments remove around a cult of personality that so often gets mixed up with the “author”, like Milla in this case.

Specifically in comics, we’ve seen how one serial abuser of women created a forum with his name on it to further impact both his art and the lives and careers of over 60 women. We are seeing every year how movie sets are filled with violence directed against everyone from actors to stunt doubles or camera specialists by personality-revered authors. For too much time too many places have centered both great minds and a great silence. And, with the recognition of the violence that was too long hidden, there is every year recognition of the violence that stories sometimes promote or perpetrate, like whitewashing, rape fetichism, harmful transphobic stereotypes and other violent stories told by authors who promote that violence.

But back to Beautiful Canvas. I personally consider it a beautiful piece of art cause it helped me shine a light and think questions on violence in the context of art and creators. Plus, the too dramatized story of a billionaire killing people to give herself the pleasure of creating chaos and a filmmaker that loves to record tortures might not be so far from what we sometimes watch on and off the screen. And it’s that deep message of the violence art can perpetrate, both in material and symbolic ways, what drives me to it.

Further on, it’s that, like me, Beautiful Canvas doesn’t have a clear solution. To get spoiler-y, Lon finally gets revenge for her abuse by Milla, but with harmful consequences for a lot of other people Milla abused (like Alex), as Milla secured her “work” by releasing further chaos. That mirrors a social preoccupation with how harm is undone. And, for this specific discussion, with ignoring pieces of art created by wide teams unaware of the harm or even affected by it, or not learning from something by censoring it. These are all open questions, and everyone must do their own answer, but sometimes doing it with a comic helps, instead of burdening it.

Responsibility In Art Through Black Mask Studios’ ‘Beatiful Canvas’

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